東區 英文 | 日本寫實動畫震驚坎城影展 [昭和感官物語]
Tatsumi (a cartoon adaptation of the manga of Yoshihiro Tatsumi) could be described as something of an anomaly — a project originating from Singapore which was made on the tiny island of Batam, Indonesia; a project no Japanese animation studio would have taken up if only because of its subject matter: slow, serious, immodest, and unsafe for children. The project’s unlikely instigator is one of Singapore’s most prominent directors, Eric Khoo, whose eighth feature this is.
Tatsumi represents Khoo’s first foray into animation. He dabbled in cartooning in his younger days, and those early works often reflect the urban angst and alienation found in many of his movies. As with Adrian Tomine (editor of the new Tatsumi translations published by Drawn & Quarterly), Khoo developed a passion for the gekiga of Tatsumi through the 1988 Catalan edition of Good-Bye and Other Stories. The motivation behind this project would appear to be simple. When asked about the impact of A Drifting Life (Tatsumi’s autobiographical manga) on him, Khoo had this to say:
“I could not stop thinking about it after reading it for three days and that’s when I decided I had to make a tribute film for Tatsumi.”
At 98 minutes, this is a bare bones version of A Drifting Life, charting in short and somewhat cumbersomely narrated sections his beginnings as a young artist, his meeting with Osamu Tezuka, his family travails, and the birth of gekiga. The film is remarkably faithful to the source text with Tatsumi’s comics panels providing the key animation frames and serving as a near rigid storyboard. Interspersed with the snippets of autobiography are adaptations of at least five works from the author’s 70s oeuvre, namely “Hell”, “Just a Man”, “Occupied”, “Beloved Monkey”, and “Good-bye”. These stories can be found in the collections Abandon the Old in Tokyo and Goody-bye, and are derived from the best period of Tatsumi’s work. There are also short sequences from Tatsumi’s pulp comic, Black Blizzard, highlighting and fetishizng its trashy roots by means of a faux four color process not dissimilar to the effect found on the cover of the Drawn & Quarterly edition of the same manga.
Despite Khoo’s personal affection for A Drifting Life, the fragments in the film derived from that novel are undoubtedly the weakest sections, serving largely as somewhat forgettable links to the five main manga adaptations found therein. Even cut down to its basics these segments will try the patience of viewers with any familiarity with the source material. The segment on Tatsumi’s meeting with Tezuka are the most coherent, the rest is inconsequential filler with little emotional drive. Worst of all is the clumsy and melodramatic episode depicting the destruction of the young Tatsumi’s art by his ailing brother.
The real aesthetic failure of Khoo’s film occurs in the differentiation between the autobiographical scenes and the fictional story elements. This blurring of lines may in fact be intentional — a reflection of the largely unvarying style Tatsumi uses for all his projects and also a subtle suggestion that Tatsumi’s violent themes emerged from his own torn psyche. The autobiographical sections are done in a kind of animation short hand (undoubtedly the product both of intention as well as budgetary constraints) and are shown in color for the most part. The fiction adaptations are done in raw black and white, and are more purposefully two dimensional to indicate the source material. Blurred elements intrude into the frame to mimic a camera lens’ shallow depth of field, and the figures are designed and drawn in a vigorous scrawl typical of Tatsumi’s pre-70s comics. They have none of the refinement of Tatsumi’s ink work found in stories such as “Sky Burial” and “Abandon the Old in Tokyo”. The light and breezy tone of A Drifting Life barely registers, and the segments covering it remain resolutely stiff and leaden, no different from the pre-70s strips they unwittingly mimic. The overall effect is not unlike a slightly evolved motion comic. The lack of aesthetic separation between the two narrative strands leads to a certain monotony; life and art inseparable yet flat in affect.
Sound is the one enhancing element in Khoo’s film. While the dubbing of the American soldier in “Good-bye” is calamitous (imagine John Wayne in a sex scene), the panting and gasping of coitus is wisely heightened to a pornographic hyper-reality which is totally in keeping with Tatsumi’s narrative ethos. Where Tatsumi shows us no more than one page of incestuous licentiousness, Khoo’s version is a loud, drawn out fucking.
★坎城影展「一種注目」單元
★東京國際影展 特別貢獻獎
★杜拜國際影展 最佳影片
★手塚治虫文化賞漫畫大獎《劇畫漂流》改編
五段奇聞軼事，揭開黑暗人心
《昭和感官物語》刻劃日本知名漫畫家辰巳嘉裕的創作生命，並收錄了〈地獄〉、〈心愛的猴子〉、〈男人的砲彈〉、〈使用中〉、〈再見〉五段故事。辰巳嘉裕生長於二次大戰後的日本，自幼熱愛漫畫，少年時期便發表作品以貼補家用，還因此結識漫畫巨擘手塚治虫，決定從此靠畫漫畫維生。然而他卻不禁質疑，為何漫畫都要用可愛的畫風和搞笑的故事迎合青少年讀者？1957年，他針對成年讀者重新定義漫畫的面貌，開創「劇畫」風格，以寫實手法展現真實生活幽暗的一面，將漫畫的創意與表現提升到另一個層次，為日本漫畫締造嶄新的里程碑，創造出撼動人心的經典作品。
【五段故事簡介】
人心就是《地獄》
美國用原子彈逼日本結束二次大戰，廣島和長崎焦屍遍野，不少罹難者化成灰燼烙印牆上，宛如人間地獄。軍事攝影師小柳在廢墟中，拍到一對母子的最後身影，那是一位兒子為母親揉肩的畫面。令人心碎的照片撼動全國，各界呼籲建立紀念銅像，意外讓小柳名利雙收。此時，一位神秘男子向小柳宣稱，受害者的兒子還在世上！突來的爆料就像原子彈投向小柳，瞬間將他捲入腥風血雨之中！
被擺佈的人與《心愛的猴子》
進城追夢五年，吉田最終只能困在單調的工廠當作業員，下班後就關回兩坪大的房間，生活寂寞卑微。人際疏離的他，只有在和寵物猴子相處時，才覺得自己像個人。一次上班途中，吉田意外被人群擠下電車，索性到動物園散心，走運邂逅了美女。浪漫的插曲助長了他辭職的念頭，但他絲毫沒察覺，美好的一切將被渴望奪走，連帶他心愛的猴子也要犧牲……
《男人的砲彈》威而無用
男人退休，就變成公認的老人；這不是花山要的，但他沒得選，還是得和勞動社會說掰掰。即使乖乖養老，妻子卻偷偷和女婿通姦，女兒開口閉口都是錢，花山的存在感根本比不上自己的退休金，人生至此完全失敗。奔波一生落得這種下場，花山滿腔怒火，決定揮霍積蓄，立志背叛家庭，追求可以讓自己重振雄風的真女人，積極當個敗德男性！
變態《使用中》
兒童雜誌漫畫家下川，為了趕稿熬夜，健康每下愈況，卻無法讓作品受到歡迎，被迫結束連載。萎靡不振的他，偶然在公廁牆上發現色情塗鴉，為他帶來莫大安慰，也誘發他無限遐想。冥冥中，好像色情之神給的啟示，成人漫畫的案子找上門來，躍躍欲試的下川，終於按耐不住衝動，在公廁牆上傾洩自己的情慾想像，沒想到因此招致難以承受的後果……
《再見》我的父親與男人
麻里子躺著賺的錢，每次都被父親瓜分。儘管常遭到嘲弄鄙視，她相信終有一天能脫離爛泥生活。因為一位美國大兵，承諾帶她回美國；這份愛，會幫她插上翅膀飛走。但就像天底下男人都會幹的事，麻里子被放鴿子了。她決定喝個爛醉，醉到遠離世界。掃興的是，無賴父親又來討錢。麻里子豁出去了，她要用最原始的方法，斷絕這場父女關係，和全天下的男人告別。
參考資料：
雅虎電影
http://tw.movie.yahoo.com/movieinfo_main.html?id=4299
電影官網
http://hoodedutilitarian.com/2011/10/tatsumi-homage-as-facsimile/
台灣電影娛樂網
http://www.twmovies.com/?p=13727
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